A Rare and Important Ottoman Jade Bowl, Turkey, 16th Century

of deep rounded form on a short foot and very slightly splayed rim, the exterior engraved and carved with interlacing rumi blossoms, the rim with an engraved naskh Ottoman Turkish inscription, with a small, carved, cintamani mark underneath the base

In overall good condition, with a minor crack near the rim, as viewed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

inscriptions

In Ottoman Turkish:

Men lebün müştakıyem zühhad kevser talibi – Nitekim meste mey içmek hoş gelür hüşyare su

'I yearn for your lips – it is the pious who seek the River of Paradise.
After all, for the inebriated it is wine which is soothing – for the sober, water will do.'

This couplet is taken from the Su Kasidesi or "Ode to Water", a masterpiece of classical Ottoman poetry composed by the court poet Fuzuli (d.1556). It is a panegyric to the Prophet Muhammad around the theme of the vitality of water with its rich allegorical and metaphorical allusions. 

Islamic jade objects bearing poetic inscriptions are extremely rare. A comparable example can be found in the British Museum [inv.no.OA 1959 11-20 1] inscribed with the name of the Timurid ruler of Samarqand, Ulugh Beg Gurgan (d.1449). A second famous piece is the jug executed for the same patron, now preserved in the Calouste Gulbenkian Foundation Collection, Lisbon [inv.no.328] (see Lentz and Lowry 1989, p.144). The closest prototype to the piece in hand, however, is the Timurid bowl in the Louvre [inv.no.MR 199] which features very similar decoration; its rim is similarly encircled by a poem inscribed in thuluth. The use of jade in royal circles under the Ottomans is rare, though the influence of Timurid art and decorative designs on Ottoman art was strong. This piece should therefore be regarded as an "archaistic" or "revivalist" object inspired by luxurious Timurid jades housed in the Ottoman treasury.  

The carved three dots or cintamani on the base of the piece could be interpreted as a signature or possibly a registration or ownership mark. This sign can historically be linked to other jades which bear similar signs. The Timurid jade cup with a dragon-headed handle in the British Museum [ME 1961 2-13 1] for instance, bears a similar sign consisting of three dots located inside the lower part of the handle.